The National Theatre’s new production of Les Liaisons Dangereuses offers an evening steeped in privilege, poison and calculated cruelty. Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’s 1782 novel transports us to pre-revolutionary Paris, where director Marianne Elliott shows us a glittering yet deeply corrupt aristocracy. The elite treat others as disposable pieces in an intricate and destructive game of seduction and manipulation. It is a world that feels unsettlingly close to our own, echoing contemporary news headlines in which power and wealth shield the sexual exploitation of the vulnerable.
The play centres on the Marquise de Merteuil (Lesley Manville) and the Vicomte de Valmont (Aidan Turner), former lovers turned conspirators who toy with the lives and reputations of others for their own amusement. Merteuil urges Valmont to seduce the young and innocent Cécile Volanges (Hannah van der Westhuysen), whose impending marriage to her former lover she is determined to sabotage.
Valmont, however, has a greater challenge in mind: he wants to seduce Madame de Tourvel (Monica Barbaro), a devout and principled married woman staying with his aunt (Gabrielle Drake). He strikes a bargain with Merteuil, should he succeed in conquering Madame de Tourvel, she will grant him one final night of passion. He will also corrupt Cécile along the way.
The production feels like a strikingly contemporary interpretation of a 40-year-old adaptation of a 250-year-old novel. Marianne Elliott leans into this modernity with the inclusion of interpretative dance, choreographed by Tom Jackson Greaves, which links scenes and at times replaces dialogue altogether. It is a bold choice that could easily have jarred but instead proves mesmerising. The sight of the cast sweeping across the stage in an array of richly coloured dresses, their movements echoed in the surrounding mirrors, creates a series of visually striking images.
Lesley Manville is formidable as Merteuil, delivering a performance of controlled venom and icy precision. She avoids the trap of playing the Marquise as a pantomime villain, instead presenting her as a supreme strategist, driven by intellect as much as malice. Opposite her, Aidan Turner brings a dangerous charisma to Valmont, making it entirely plausible that women could fall under his spell. His seduction of Cécile is particularly unpleasant, showing a depraved side to his character. Yet he also reveals flashes of vulnerability, particularly in his pursuit of Madame de Tourvel. Manville and Turner share a great, strong chemistry, and it is in their scenes together that the production is at its very best.
The supporting cast provides a strong contrast to the moral corruption of the central figures. Hannah van der Westhuysen deftly charts Cécile’s transformation from a naïve, giggling ingénue into a self-assured young woman capable of matching the ruthlessness around her. Monica Barbaro brings convincing moral steadfastness to Madame de Tourvel, making her manipulation at the hands of Merteuil and Valmont all the more tragic.
Rosanna Vize’s set design is deceptively minimal: three sides of the stage are lined with mirrors, above which hang monochrome paintings typical of the period. This allows for rapid, fluid transitions between scenes, giving the production a strong sense of momentum while keeping the focus firmly on the actors and the text. In contrast, Natalie Roar’s costumes embrace the opulence of the period, adding richness and visual texture.
This National Theatre revival of Les Liaisons Dangereuses is a compelling and intelligent production that finds striking modern relevance in a classic text. The performances, particularly from Manville and Turner, are its greatest strength, bringing nuance and intensity to their roles.
While the production occasionally leans heavily on its stylistic choices, particularly the dance sequences, it never loses its grip on the emotional core of the story. It is this balance of visual flair, strong direction, and commanding performances that makes the production so engaging. Dark, seductive and sharply observed, this is a revival that both entertains and unsettles.
Les Liaisons Dangereuses is at the National Theatre until 6 June. Book tickets
